Reflections

I study geography at the university of Bern and take part in the seminar Geography: Beyond Research Communication. As part of this course, we help organise the Global Science Film Festival. I watched Peak Water during the festival as a member of the audience.

I chose the following structure because Peak Water presents its themes through symbolism and visual repetition rather than explanation. Before discussing the deeper ideas of the film, it is therefore important to describe what is shown on screen. After this descriptive foundation does the review turn to the themes of everyday water use, glacier melt, and the normative dimension of the film.

Peak Water follows a woman named Andrea as she moves through an ordinary summer day. The film begins in her bathroom where she brushes her teeth and washes her face. The camera focuses closely on her actions and especially on the water running from the tap or dripping from her hands. She waters her plants at home and later at her office. Throughout the day, the sound of flowing water is very present, whether from a tap, a bottle or brief moments when she cools herself.

A recurring visual element accompanies these everyday scenes. In the background stands a long transparent container. Inside lies a very thick viscous mass. Each time Andrea uses water in some form, water flows down across this mass. At the beginning of the film, the white substance reaches from the top to the middle of the container. As the film progresses, it gradually shrinks until it finally disappears. The water stream first becomes stronger, then weaker, and eventually fades away completely.

This transformation is shown without explanation or dialogue. It simply unfolds parallel to Andrea’s day.

Peak Water shows Andrea performing very typical tasks. She washes her face, brushes her teeth, fills her water bottle, and waters her plants. These scenes highlight the unconscious nature of water use in everyday life. Water appears constantly available. It is taken for granted that clean water flows from the tap whenever needed.

In Switzerland, this perception is supported by reliable water infrastructure. These infrastructures are extensive and mostly invisible. They include treatment plants, pipes, reservoirs, and monitoring systems that ensure water is always accessible and safe. This technical system shapes daily routines as well as cultural and political expectations. Water is not only needed for drinking and hygiene but also to maintain social norms of cleanliness and comfort (Linton and Budds, 2014).

However, domestic water consumption is only one part of the broader picture. The average Swiss citizen uses about 162 liters per day for household purposes. This number includes activities like washing, cleaning, and cooking. Yet this direct use represents only a small share of the total water footprint of the average Swiss of 4200 liters per person per day. The majority of water related to Swiss consumption is used outside the country. It is embedded in imported goods such as food, textiles, and many other products. This indirect use accounts for most of the national water footprint and often occurs in regions where water is scarce (WWF, 2012).

Peak Water hints at these connections by showing how ordinary actions are tied to hidden processes elsewhere. The film suggests that everyday water use, even when moderate, depends on complex natural and technical systems. These systems are vulnerable to climate change, population growth, and environmental stress. Although the film does not present numbers or explanations, the slow disappearance of the white mass reflects how seemingly infinite freshwater reserves are linked to natural sources that will change.

The transparent container with the thick white mass represents a glacier. Each time Andrea uses water, more water flows over the mass, and the mass becomes smaller. This visual metaphor connects daily routines to environmental processes.

In Switzerland, glaciers play a significant but not exclusive role in the freshwater system. They act as natural storage during the colder months and release meltwater in summer. This seasonal melt can support rivers and groundwater during hot and dry periods. As glaciers shrink due to rising temperatures, this stabilising function is reduced. The long term trend is a shift in the timing and availability of water. Less meltwater means less buffering during heatwaves. While Switzerland will not run out of water entirely once glaciers vanish, certain regions and local water systems will experience stress during specific periods (ETHZürich, 2025).

Peak Water simplifies this relationship by letting the water flow fade to nothing once the glacier in the container disappears. Although not scientifically precise, the metaphor effectively illustrates the loss of a natural buffer. It brings a distant environmental process into visual proximity. The slowly shrinking mass becomes a quiet reminder that climate change alters the foundations of water availability, even in countries where water appears abundant.

Peak Water communicates clear values without using any spoken words. Through its repeated scenes of water use and parallel disappearance of the white mass, the film encourages viewers to reflect on the meaning of water in everyday life. It suggests that water is more than a resource for comfort and routine. It is presented as something essential and fragile that depends on natural and social systems.

The film also points toward a broader political dimension. Water is widely recognised as a human right and as a basic requirement for life, dignity and health. By drawing attention to the ease with which Andrea accesses clean water, the film indirectly highlights the inequalities that shape global water availability. While Andrea can rely on stable infrastructure, many people around the world face restricted access, contamination or political conflict over water. This contrast gives the film a subtle but important ethical dimension (United Nations General Assembly, 2010).

At the same time, the film suggests that water is embedded in systems of governance. Decisions about distribution, infrastructure and protection influence who has access and when. Peak Water does not show the institutions directly, but the shrinking mass in the container hints at the vulnerability of both natural sources and human systems. Through its imagery, the film conveys that responsible water use is not only a matter of individual choices but also part of a larger political discussion about fairness, sustainability and shared responsibility.

Watching Peak Water was a thought provoking experience. I appreciated how the film used visual storytelling to draw attention to actions that usually go unnoticed. The silent presence of the glacier container was one of the strongest elements. It slowly changed in the background, and its disappearance connected Andrea’s routine to a larger environmental, social, and political process without saying a word. I also liked how the film used rhythm. The repeated scenes of water use created a pattern that made the viewer more aware of how often water appears in daily life.

On the other hand, I needed some time to understand the hidden message of the film. The metaphor is subtle, and there is no direct explanation. Only after thinking about it did the meaning become clearer. The film hints at a connection between personal routines and the disappearance of glaciers that is not entirely accurate for Switzerland. Although glaciers are important, we will not completely lose our water supply once they are gone. Still, the loss of glaciers will have serious consequences and the film tries to capture the weight of this change.

Overall, Peak Water offers an interesting perspective on water and climate change. It is visually thoughtful and encourages reflection. It does not give a complete picture, but it raises important questions. It is a film that invites to think more deeply about water, its origins, and the systems that make daily life possible.